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An Impact Soundworks Sample Library

Powered by Native Instruments Kontakt 5 Player

Designed, Edited and Scripted by Andrew Aversa
Kontakt Programming & Additional Editing by Iain Morland
Performed & Recorded by Juan Medrano


Welcome to Shreddage II: Absolute Electric Guitar. This virtual instrument was designed to be a true successor
to our original Shreddage electric rhythm guitar library, released in 2010 and used by thousands of composers
and producers all over the world. With that release, our goal was to create an easy-to-use set of DI rock & metal
guitar sounds, pushing the envelope of realism and establishing a new standard for electric guitar samples. We
were content to focus strictly on rhythm playing, with the idea that perhaps other virtual instruments would
service for lead playing.
However, as useful as the original Shreddage was, our users overwhelmingly desired a true sequel: an instrument
that would take the incredible realism of Shreddage and apply it to a comprehensive library capable of lead
playing as well. Other libraries have attempted this challenge, but through our own experiences and the words of
our users, we discovered common problems: bloated memory and CPU usage, limited range, incomprehensible
mapping and keyswitches, overly complex scripting, and a lack of attention to detail & realism.
Shreddage II is our answer to the challenge of total guitar sampling. It is a complete instrument with elegant
scripting, intuitive mapping, and incredible depth. And while it excels at rock & metal playing (both lead and
rhythm alike), it is also well-suited for many other genres thanks to its clean tone and huge range. We couldn't be
prouder of this release, and hope that it will bring you inspiration, joy, productivity, and of course, brutal guitar


The vast majority of Shreddage II is contained within a single titular patch, "Shreddage II". The "Shreddage II FX"
patch contains various neck slide, pick scrape, and other guitar effects that are not tonal and typically used as a
transition into a phrase. These FX are organized starting at C2.

The main Shreddage II patch contains all important articulations, triggered by standard MIDI note input and
modwheel. These articulations include:

* Sustained single notes and powerchords (1-5-1)
* Aggressive sustained single notes
* Palm muted single notes and powerchords, with up to 5x layers (very muted -> half-muted)
* Staccato single notes and powerchords
* Three types of single note vibrato: subtle fingered, heavy fingered and whammy bar
* Powerchord vibrato
* Tremolo picking
* Pinch harmonic squeals with wide, heavy vibrato
* Portamento slides for single notes
* Hammer-on and pull-off legato transitions
* Full chokes (all strings muted)
* Unpitched and pitched release noises
* Fret / finger squeaks
* Unison bends

Shreddage II contains extensive options for customizing the tone and triggering of these articulations, which will
be discussed in a later section (Interface & Options). Almost all articulations can be turned ON or OFF.
Nonetheless, there are some basic principles of the library that never change.

Single note articulations are mapped from G2 to E7.
Powerchord articulations are mapped from C-1 to E2.
Fret squeaks are triggered by pressing F2.
Full chokes are triggered by pressing F#3.
Release noises are triggered automatically at the end of notes (but have adjustable volume).
Hammer-on, pull-off and portamento articulations are only triggered by overlapping (legato) notes.
Vibrato articulations are triggered (crossfaded) by the mod wheel (CC1).
Pitch bends can be performed with the standard pitch wheel.
Unison bends are performed with CC11 by default.

There are also pre-mapped keyswitches, which are as follows. If some of the terms used don't make sense, make
sure to check this manual's section on Interface & Options.

C-2: Set stroke (picking) direction to alternating down/up.
C#-2: Set stroke direction to downstrokes only.
D-2: Set stroke direction to upstrokes only.
D#-2: Set vibrato type to Fingered - Light.
E-2: Set vibrato type to Fingered - Heavy.
F-2: Set vibrato type to Whammy.
F#-2: Resets round robin sequence.

B-2: Reset string preference.
C-1: Force playing on string 1 (E).
C#1: Force playing on string 2 (B).
D1: Force playing on string 3 (G).
D#1: Force playing on string 4 (D).
E1: Force playing on string 5 (A).
F1: Force playing on string 6 (E).
F#1: Force playing on string 7 (A).


We spent a long time carefully analyzing live guitar recordings and performances to determine which playing
techniques should be captured. Below you will find detailed descriptions for the included playing techniques, and
basic tips on using them. Keep in mind that most articulations can be switched ON or OFF, and their velocity
mapping can be changed. The information below assumes the articulation is on, and the user is playing within the
proper velocity range.

The bread-and-butter articulation of Shreddage II is simply a single note on a single string being picked with an up
or down stroke. These are used in every kind of rhythm and lead riff, and can be combined to create chords. We
made sure to capture the full sustain of each note, as well as the authentic 'attack' of the pick hitting the string.

These are always triggered in the upper 1/4 (25%) of the sustain velocity range. For example, if sustains are
mapped from velocity 60-100, aggressive or 'hard' sustains will trigger at 90-100. As the name implies, these have
extra bite and brightness, particularly useful for emphasizing certain notes in a riff, or for screaming high notes.

In Shreddage II, all powerchords use 1-5-1 fingering. For example, playing the lowest powerchord on string 7 (low
A) triggers a recording of A-E-A: A on string 7, E on string 6, and A on string 5. This fat, heavy sound is the hallmark
of the Shreddage guitar family! It is excellent for many types of rhythm riffs, particularly when interspersed with
muted notes.

A palm mute is played by using the palm of the picking (right) hand to push against one or more strings. The result
is a severe reduction in the brightness and sustain of each note. As palm mutes are critical in many kinds of rhythm
riffs, in particular rock/metal "chugs" and aggressive fast parts, we sampled up to 5 different palm mute levels. The
lowest level, corresponding with the lowest velocities, is heavily muted, whereas the highest level (higher
velocities) is barely muted at all.

Palm mutes tend to sound best when played on the lower strings and lower frets. Riffing with palm mutes on
strings 1 and 2 can quickly create a killer thick sound when sent through hi-gain amp settings.

These short notes have the fullness of a normal sustain, but are quickly cut off by muting the string. Due to the way
they are picked, their tone is slightly darker than a normal sustain. Experiment with using staccatos in the place of
short single notes for rhythm riffs.

Three kinds of vibrato are included in Shreddage II, selectable via keyswitch or in the user interface (UI). All three
are triggered using the mod wheel. This can be done in the middle of a note to crossfade from a sustain to vibrato.
Fingered Light & Heavy vibrato is produced by quickly moving the string with the left hand, whereas Whammy
vibrato uses the mechanical whammy bar, producing (at times) a more dramatic effect.

Powerchord vibrato is limited to one type (whammy) but is triggered the same way.

A classic technique in a variety of genres from surf rock to heavy metal. 'Trem picking' involves rapidly picking the
same note with alternating down and up strokes. In Shreddage II, this is not synced with any particular tempo, but
is simply played as fast as the guitarist was able! This can be used in lead or rhythm parts to add extra flair to a
By using a specific hand position, a guitarist can pick a note and bring out mostly the harmonics (overtones) as
opposed to the root pitch (fundamental). This high-pitched sound is often enhanced with vibrato, which we
captured in the form of this articulation. Pinch squeals are screaming, dramatic, and excellent for adding flair to a
riff, particularly on longer notes or the highest note in a riff. They won't sound like much unless sent through a hi-
gain amplifier, however!

When playing a series of notes, guitarists do not often pick each one individually. Instead, when ascending in pitch
on the same string, a "hammer-on" is used: once the string is struck, a finger on the left hand is used to hit the next
fret, causing a slight attack and change in pitch. The opposite, a "pull-off", involves fingering several notes on the
same string. By quickly releasing the finger on the highest fret, the lower pitch comes through. These techniques
are used quickly and seamlessly in many riffs and phrases.

Triggering them in Shreddage II is a simple matter of overlapping two notes within two semitones. There are
numerous options involving hammer-on and pull-off articulations available in the Legato page of the UI.

A continuous slide (aka glissando, portamento) is performed by striking a note and then literally sliding the left
hand along the frets of the string. This technique can be used to dramatically hit a low or high note, or at the end of
a phrase (usually downward in pitch). Slides in Shreddage II are triggered the same way as hammers/pulls, by
overlapping two notes; by default, the two legato techniques are in separate velocity ranges.

For example, holding E3 then playing and holding B3 will produce an authentic slide from E3 to B3. The destination
note, B3, will then be sustained as long as you hold the note. However, a very useful technique is NOT holding the
destination note long enough for it to be heard. The result will produce only the sound of the slide, and nothing else
- a very handy effect!

As with hammers, there are extensive customization options for slides in the Legato page of the UI.

By heavily palm muting all strings, then quickly strumming all strings, this sound is produced. Its largely non-
pitched quality is handy for chugging rhythms and intro riffs. Full chokes are always triggered on F#2 and the
velocity played changes where the strings are strummed (which in turn changes the tone of the choke).

Many types of subtle noises are produced when a guitar string is played and released. In Shreddage II, we've
captured two categories of noises: pitched and unpitched. Pitched noises are triggered when sustain notes are
stopped. These are matched properly to the pitch of the note that was played. Unpitched noises include a large
variety of random sounds captured from actual performances. Each type of noise is automatically triggered upon
release of most articulations, and volume controls are available in the Engine page of the UI.

Quickly moving the left hand from one fret to another creates a high-pitched 'squeak'. We captured many
variations of this sound and have mapped them to F2. Generally, it makes sense to write your guitar part first, and
then pepper it with fret squeaks once you've figured out your rhythms and pitches. We recommend using them
sparingly; try adding them shortly before the start of a new note, several steps higher or lower in pitch than the
previous note.

By quickly strumming several muted strings leading up to the string that is intended to be played, an extra heavy
pick noise is perceived. This common technique adds extra emphasis to high notes in a lead part. If this articulation
is enabled and the user triggers the proper velocity for it, it will actually DELAY the played note by ~35ms while
adding the extra pick sound.

A common technique while playing two notes on two separate strings is to pitch bend the note on the lower string
without bending the higher note. This technique, called a 'unison bend', is commonly done by 1 or 2 semitones. You
can execute unison bends in Shreddage II by using CC11 (customizable in the 'Engine' page). CC11 will bend the
lowest currently played note up to two semitones, without affecting any other currently played notes!


Shreddage II is powered by an advanced script created using the KSP (Kontakt Script Processor). This section of
the manual will describe how this script functions (descriptions of user-editable controls can be found in the
following Interface & Options section).

Note: Disabling the script, or attempting to edit any groups/mapping options, is not recommended! If you do
decide to try and make some edits, we strongly encourage you to save a backup copy of the patch (or save your
installation files).

To truly capture the wide range of tones possible with a guitar, it is necessary to sample each fret on each string of
the guitar. An E3 played on String 1 (Low A String) is the same pitch as an E3 played on String 2 (E String), but the
resulting tones are distinct. Likewise, when a chord of several notes is played, each note must be placed on a
different string realistically.

When using Shreddage II, you need not worry about picking which string or fret to use. The script intelligently
determines where to place each incoming note based on what you've already been playing. For example, playing
two or more note at once will result in each note being placed on a different string. The rules used to determine
fret and string placement involve looking at (a) strings that currently have held notes, (b) the string/fret of the
previous note, and (c) the input pitch.

By default, Shreddage II will avoid placing two notes on the same string unless the MIDI sequence forces it. Notes
will generally attempt to be placed using a set of preset 'sweet spots' for each string (generally within the 2nd
through 7th frets or so). If the previous note has a high fret position, the script will attempt to avoid making large
leaps in fret position on the next note. Likewise, adjacent strings are always considered before jumping more than
one string, where possible.

This behavior can be changed via String Preference and String Realism options, explained later in the manual.

The default playing style of Shreddage II alternates between down and up strokes. This can be changed in two
ways: one, by using keyswitches or the UI to select down- or up-stroke only mode. Two, by playing a series of notes
within the 'chord threshold'. This user-configurable option, set to 150ms by default, will normalize stroke direction
to the direction of the first played note.

Just as a real guitarist strumming a chord will strum all notes either down or up, the chord threshold feature is
designed to detect when the user is playing a strummed chord and ensure all notes in the chord use the same
stroke direction.

A 'round robin' refers to a unique recording of a given pitch and articulation. Shreddage II contains up to 8 round
robins (RRs) per articulation and pitch. This means that playing the same note and velocity over and over will
trigger a different recording each time, virtually eliminating the 'machine gun effect'. This can be further enhanced
using the Anti-Repetition control.

RRs are selected using a pre-determined 'seed' of random numbers. This ensures that rather than hearing the same
short sequence (1-2-3-4, 1-2-3-4) over and over, you will hear a dynamic, non-repetitious order.

By selecting Guitar 2 instead of Guitar 1, the same seed is used, but at a different starting point. Thus, with two
patches on the same MIDI channel using separate guitars, a true double-tracked sound can be achieved.

The Reset RR button can be used to reset RR sequence position.


Whereas the original Shreddage had a rather minimal (but effective) set of controls, Shreddage II features a wide
variety of customization options and added features. Whether you just want to make some basic adjustments or
significantly tweak dozens of advanced options, everything is easily accessible from the user interface.

This manual will go through each and every page of the UI, and every control. Note that you can switch pages of the
UI by clicking the dropdown menu in the bottom-right of the interface (defaulting to "Performance" page).

Note: By hovering the mouse over ANY control in the UI, help text will appear within Kontakt itself!

Performance Page (Default)

Screamer Pedal
Adds a distortion pedal to the signal chain modeled after the classic "Tube Screamer" pedal. This effect is very
useful in thickening up the sound before it is sent through an amplifier like ReValver.

Aggressive EQ
Adds a custom EQ curve to the signal chain that adds more 'bite' and reduces bass thickness. Using this control will
make the base guitar tone similar to that of the original Shreddage.

Adds a heavy compressor to the signal chain that emphasizes pick sound and attack transient. Useful for clean
tones in particular.

Patch Presets
The dropdown menu (set to "Default" preset initially) allows you to select a preset, while clicking "Load Preset"
will load it. This saves any and all controls within the patch, such as articulations, effect settings, playing styles, etc.
You can also save your own presets by selecting a User Preset from the menu, then clicking "Save Preset".

String Preference Knob
Sets the script's string preference. If any single string (1-7) is selected, the script will make all attempts to play
notes on that string, unless the input notes are beyond the pitch range of the string. Note that the keyswitches from
B-2 to F#-1 can also control this knob.

Reset Strings
Resets the virtual hand/fret position and all notes on all strings. This is useful if, for some reason, you've
encountered an issue with a stuck note.

Articulation Buttons
These buttons enable or disable the articulations within Shreddage II. The "Articulations" page of the UI can be
accessed to customize velocity mapping of these articulations as well.

Enables monophonic mode, where only one note is sounded at any given time. Useful for leads.

DT Guitar 1 & DT Guitar 2
Shreddage II is built for double-tracking. These buttons allow you to define one instance of the patch as the first
guitar, and another instance as the second guitar. Guitars 1 & 2 use separate round-robin sequences, and thus
separate recordings.

Reset RR
Resets the round robin sequence. Useful if your double-track instances get out of sync (just press this button on
each instance).

Fretboard Page

This page displays a virtual fretboard monitor. When notes are played, you will see which strings and frets
are being triggered. "v" represents a downstroke while "^" represents an upstroke. "H" and "P" represent hammer-
on and pull-off respectively, while "0" denotes playing on an open string. The Reset Strings button on this page
serves the same function as on the Performance Page.

Articulations Page

Articulation Buttons
Just like on the performance page, these buttons can be used to enable or disable any articulation.

Numeric Velocity Ranges
Each articulation has a corresponding "Min" and "Max" velocity range. This represents the range at which the
articulation is triggered. For example, setting sustains to min = 70 and velocity = 100 will ensure that sustains only
trigger when velocities 70 through 100 are played. If there is a gap in the velocity range (for example mutes = 50-
60, sustains = 70-100), then any notes played in the gap will trigger a 'dead' note sound.

For legato articulations, the velocity range is based on the destination note, NOT the origin note. For example, let's
say portamentos are set to trigger at velocities 1-59. You play and hold A2, then play A3. You must play A3 at
velocity 1-59 to trigger legato. The velocity of A2 is not relevant.

Engine Page

Velocity Scaling
This menu allows you to scale incoming velocities. "Light" and "XLight" scales input velocity upward, while "Heavy"
and "XHeavy" scale input downward.

Picking Mode
Controls stroke direction. By default, alternating down and up strokes are used. However, many rhythm riffs
benefit from using only downstrokes. This control can also be accessed via keyswitch (C-2 through D-2).

Vibrato Type
Switches between the types of vibrato described earlier. Can be accessed via keyswitch (D#2 through F-2).

Envelopes - Sus Rls
Controls the release time of sustained articulations. This is useful if you want to sequence particularly tight parts;
by decreasing this knob and increasing the volume of release noises, you can emphasize the end of each note
further. Increasing the release time can be useful for dreamy or atmospheric guitar parts.

Envelopes - Mt Decay
Controls the decay time of palm mute articulations. Decreasing this knob effectively makes mutes 'tighter', eg. they
will not sustain and hold out for as long. Volume decay occurs as soon as you press a note.

Envelopes - Mute Rls
Controls the release time of palm mute articulations, much like the Sus Rls knob.

Chd Threshold (Chord Threshold)
Controls the threshold time, in milliseconds, used to detect chord strums. This script function is described earlier
in the manual.

TuneVari (Tune Variation)
Controls the amount of randomly-added tune humanization in each played note. Since real guitars (and real
guitarists) do not play perfectly in-tune with every note, this control can be useful for added realism.

Enables extra Kontakt-generated round robins by means of pitch shifting notes +2/-2 semitones from the played
note. Not much reason to disable this, really!

Keyswitch Latch
When enabled, keyswitches such as string selection will stay active even when the keyswitch note is released.
When disabled, the keyswitch must be held to stay in effect.

UniBend CC
Sets the MIDI CC to be used for unison bending.

Tapping Mode
When enabled, forces incoming notes to use hammer-ons only, emulating the two-hand tapping playing style.

Rls Noise
Controls the volume of unpitched release noises.

Pitch Rls
Controls the volume of pitched release noises, which are only triggered at the ends of sustained notes.

DI Line Noise
Enables a constant loop of line noise/ground hum. Useful for extra realism in a render.

Extra Pick
Enables the additional pick sound articulation, as described earlier.

Controls the volume of the DI line noise, if enabled.

ExtraPick (Noise)
Controls the volume of extra pick noise, if enabled.

Legato Page

Legato Articulations
These controls are the same as on the Articulations page - they're just added here for convenience.

Hammer Settings - Range
Controls the maximum range (in semitones) where hammer-ons or pull-offs will be triggered while playing legato.
For example, if this knob is set to 2 semitones, then hammers/pulls will only be triggered within one whole step on
the keyboard. Playing 3 or more semitones would trigger normal articulations, even while playing legato.

Note Realism
When enabled (by default), the script will intersperse hammer-on and pull-off playing with sustain articulations.
This is because in most situations, a guitarist could only play two or perhaps three hammers or pulls in a row
before needing to pick the string again. Disabling this control will allow you to play as many hammers or pulls as
you want!

Vol Realism
As with note realism, this control is enabled by default. It decreases the volume of successive hammer-on and pull-
offs realistically. Disabling it will keep these articulations at full volume no matter how many times in a row they
are triggered.

Portamento - Slide In
Sets the FADE-IN time of the portamento slide sample. The sequence of events in a portamento articulation is as
follows: the user plays a note (ex. A3). When portamento is triggered (ex. A4), the script starts to fade out the first
note (A3) and fades in a transition sample of A3->A4. Then, the script crossfades this transition sample with the
destination note (A4).

Portamento - Trans. XF
Sets the crossfade time between the transition (slide) sample and the destination note.

Portamento - Sus. Out
Sets the fade-out time for the original sustained note (the origin note for the slide).

Slide Vol
Sets the volume level for the slide transitions.

Cross Porta (Portamento)
When enabled, allows for slides from one string to another. This is technically not realistic, but it sounds great, and
in some cases will allow for slides that wouldn't normally be possible. We recommend keeping this control active
unless you are an advanced user willing to manipulate string selection carefully!


The guitar used for Shreddage II was a Musicman JP12 seven-string guitar, recorded DI through an Avalon U5
into an RME HDSPE interface at 24/44.1. 7,915 24-bit mono WAV samples comprise the final library, clocking in at
nearly 5 gigabytes (uncompressed).


Design, Audio Editing, Scripting: Andrew Aversa
Kontakt Programming & Additional Editing: Iain Morland
Performance & Recording: Juan Medrano
UI Artwork: Andrew Luers
Logo Artwork: Blake "PROTODOME" Troise

Beta Testing: Matt Guillory, Dirk Ehlert, Erik Ekholm, Max Zhdanov, Ian Dorsch, Blake Ewing, Jason Cullimore, Jeff
Ball, Matt Bowdler, Marius Masalar, and Stephen O'Leary.

A special thanks to Blake Robinson, Mario Kruselj, and the VI-Control community for assistance with KSP!

Have you used Shreddage II in a project recently? Got an awesome track you'd like to share? Drop us a line
(admin@impactsoundworks.com) and we might post it on our website! Or, tell the world at our Facebook page
here: http://www.facebook.com/ImpactSoundworks

We encourage all our users to share and promote their work. Word of mouth is the #1 way people find our
samples, so it also helps us to produce more great libraries for you!

For any technical support issues regarding the library, dont hesitate to email support@impactsoundworks.com.

All sound recordings, performances, scripting and/or code contained in this product is the property of Impact
Soundworks unless otherwise noted, and remain the property of Impact Soundworks after the product is
This license extends only to the individual who purchases this product, unless that individual is purchasing on
behalf of another individual, in which case it is the actual user of the product who is granted this license.
The licensee is entitled to the use and unlimited editing of the product within the scope of music production and
composition. The product may be installed on as many computer systems used by the licensee as desired, but in no
case does a single license allow multiple individuals to use the product.
The licensee may not use the product in the creation of other sample, sound effect, or loop libraries.
The licensee may not use sound recordings contained in the product as individual sound effects for sound design
work, unless the sounds are significantly processed, layered, and otherwise altered beyond recognition.
The licensee may use the product in the creation of music for production libraries.
Redistributing, reselling, electronically transmitting, uploading, sharing, or renting the product in any way, shape,
or form is prohibited by law. The licensee may create a physical backup copy of any digitally purchased and
downloaded product. This backup copy is subject to the same limitations as the original copy of the product, and
may not be transferred to any other individual for any reason.
Copyright 2012 Impact Soundworks, LLC. All Rights Reserved.